Part 13
For others, see Allibone.
THE OLD SAILOR, _phrenonym_ [MATTHEW HENRY BARKER, Master in the Royal Navy].
Tough Yarns. Nights at Sea, Lond., 1852. Sheet Blocks, 1859. Land and Sea Tales, 1860. The Warlock, 1860.
THE OLD SHEKARRY. See H. A. L.
THE PRESIDENT, _titlonym_ [THOMAS SANDEN, M.D.].
Three Discourses:-- 1. On the Use of Books. 2. On the Result and Effects of Study. 3. On the Elements of Literary Taste. Delivered at the Anniversary Meetings of the Library Society at Chichester. By ----. Lond., 1802.
THE ROVING ENGLISHMAN, _geonym_ [E. C. G. MURRAY].
Pictures from the Battle-Fields, 1856. First published in Household Words, 1854.
The R. E. in Turkey, 1855, is also this gentleman.
THETA, a lineal descendant of the Hereditary Standard Bearers of Normandy and England. “The Knights of the Swan,” _pseud._ [WILLIAM THORN].
The Thorn-Tree: being a History of Thorn Worship of the Twelve Tribes of Israel, but more especially of the Lost Tribe and House of David. By ----. Lond., _J. Nisbet_, 1863.
Dedicated to the Bishop of Natal, by ☉.
THE TIMES BEE-MASTER, _phraseonym_ [JOHN CUMMING, D.D.].
Bee-Keeping. By ----, &c. 1864.
The result of some letters written by Dr. Cumming in the Times, which caused a great deal of controversy at the time.
“‘Bee-Keeping’ is one of the most remarkable specimens of book-making which we have met with for a long time. The author, Dr. Cumming, sent to the Times an account of a successful honey harvest about the end of July last (1864). This led to various inquiries by different writers addressed to that journal, which, having been forwarded to the ‘Bee-Master,’ a series of six other letters on bees and wasps was subsequently published.... They occupy 50 pages of the volume before us, which consists of 224.... All this was written, printed, and published, with a number of woodcuts, by the end of September!” The writer (in the _Athenæum_) concludes by saying that it is “an amusing addition to the bibliography of the hive.”
THE TRANSLATOR OF THE NIBELUNGEN TREASURE [Miss PHILLIPS, afterwards Madame de PONTES].
A Selection from the Poems and Dramatic Works of Theodor Körner. Lond., 1850.
X. Y. Z., N. & Q.
THE WRITER OF A GLANCE BEHIND THE GRILLES [Mrs. WILLIAM PITT BYRNE].
Flemish Interiors. Lond. [1856].
THINKS-I-TO-MYSELF, _WHO?_ _phraseonym_ [Rev. EDWARD NARES, D.D.].
Thinks-I-to-Myself. A serio-ludicro-tragico-comico tale. Written by ----. 1811, 2 vols., 9th edition, 1813, and _Allman_, 1858.
The author complained of others writing under this pseudonym, if it can be so called.--See _British Critic_, 1813.
THORNBURY (George Walter).
The Life of J. M. W. Turner, R.A. Founded on Letters and Papers published by his friends and fellow Academicians. Lond., _Hurst, &c._, 1862.
MR. THORNBURY’S “LIFE OF TURNER.”
(To the Editor of the _Athenæum_.)
Hutton, Brentwood, Dec. 2, 1861.
“Turner hated plagiarism,” says Mr. Thornbury in his recently published life of our great landscape painter (vol. ii. p. 256); and he endeavours to show, in no very graceful terms, in his preface, that plagiarism in literature is as repugnant to his feelings as a man of letters, as plagiarism in art was to the artist. “Mr. Timbs,” remarks the biographer, “with little of that courtesy which should distinguish literary men, plying his scissors with his usual industry, has lately cut out a dozen or two of trite or erroneous Turner stories, and published them in a catchpenny form, for which--as partly fulfilling Job’s wish--I thank him.”
I may very fairly exclaim with Gratiano, “I thank thee, Jew, for teaching me that word”; for Mr. Thornbury has plied his scissors on a short memoir of Turner of mine with a prodigality that seems almost incredible. Mr. Timbs, the prolific compiler, publishes his Turner stories as a compilation. Mr. Thornbury prints all the best of my Turner stories, scattered over many pages, as his own. In the last edition of Turner’s “Rivers of France,” published in 1853, by Mr. Bohn, there is a memoir of the artist by Mr. Alaric Watts, in which is included six pages of extracts from my memoir, with honourable mention of me as the author. I need only refer to Mr. Watts’s extracts, because it is from these that Mr. Thornbury has helped himself. Out of the six pages (p. xlii. to xlviii.) containing them, he has appropriated three; the contents appear in vol. i. pp. 67 and 198-199, and in vol. ii. pp. 130-131, 141, 161, 217-218 and 318. The first extract Mr. Thornbury takes the trouble to rewrite:--
_Reeve_, 1851. _Thornbury_, 1861.
“He would walk through portions “He walked twenty to twenty-five of England, twenty to miles a day, with his baggage twenty-five miles a day, with his tied up in a handkerchief, and little modicum of baggage at the swinging on the end of a stick. end of a stick, sketching rapidly He sketched quickly all the good on his way all striking pieces of pieces of composition he met. He composition, and marking effects made quick pencil notes in his with a power that daguerrotyped pocket-book, and photographed them in his mind. There were into his mind legions of transitory few moving phenomena in clouds effects by aid of a stupendous, shadows which he did not fix retentive, and minute memory.” indelibly in his memory.”
Mr. Thornbury, thinking probably that my style was now sufficiently elegant for his purpose, lays down the pen for the scissors. His next extract, commencing “An intimate friend, while travelling in the Jura,” vol. i. p. 198-199, is printed _verbatim_. The next cutting is manipulated with the skill of an accomplished penny-a-liner. It occupies an entire page of Mr. Thornbury’s work, vol. ii. pp. 130-131, commencing “One element in Turner’s success was his indifference to praise,” and ending “He felt keenly the ignorant criticisms and ridicule with which his own pictures were sometimes treated.” The ingenuity exercised to give originality to this paragraph consists in half a dozen lines in one part of it being printed between turned commas, and attributed to Mr. Peter Cunningham! The fourth extract, p. 141, commencing “He never would tell his birthday,” is printed _verbatim_. Of the next interpolated paragraph, p. 161, commencing “He wrote few letters,” I have less to complain of. Mr. Thornbury does not print this, similar to the rest, as his own, but, like a vast number of other collectanea in his book, between turned commas, without acknowledgment or reference. The next extract occupies an entire page, p. 217-218, and is printed, also, _verbatim_; it commences, “Turner was always on the alert for any remarkable effects,” and ends, “in which the great artist’s attention had been caught by the hissing and puffing and glowing fire of the locomotive.” The seventh and last clause in my indictment against Mr. Thornbury is a short one; and as it is altered I must ask permission to give it entire:--
_Reeve_, 1851. _Thornbury_, 1861.
“There is yet another portrait “There is yet another portrait to record: Mr. Charles Turner, to record. Mr. Charles Turner, A.R.A., the mezzotint engraver A.R.A., the mezzotint engraver of his Liber Studiorum, and his of his Liber Studiorum, and his oldest and most constant friend, oldest and most constant friend, was so desirous of securing a like- was so desirous of securing a like- ness of him, that he offered to pay ness of him at all hazards, that he Sir Thomas Lawrence, or any other availed himself from time to time artist that Turner should name, of every opportunity of collecting if he would only consent to sit, memoranda for the purpose. He but he was not to be prevailed at length obtained a most upon. Mr. C. Turner was, however, characteristic portrait in oil, determined to have a likeness small, half-size, in the act of of him at all hazards, and sketching. The singularity of his availed himself from time to time dress and figure _have_ been of every opportunity of collecting scrupulously attended to, and it memoranda for the purpose. He has been pronounced an admirable at length obtained a most charact- and faithful likeness. I believe eristic portrait in oil, small, that Mr. C. Turner engraved this half-size, in the act of sketching. portrait.” The singularity of his dress and figure _have_ been scrupulously attended to, and it has been pronounced an admirable and faithful likeness. It will be gratifying to Turner’s friends to know that Mr. C. Turner intends to engrave the portrait.”
If anything were needed to show the worthlessness of Mr. Thornbury’s “Life of Turner,” it is the unnecessary appropriation of this passage. One would think that a chapter devoted especially to “The Turner Portraits,” about which so much curiosity prevails, would be at least marked by some research. But Mr. Thornbury cuts out my paragraph in all its detail, as related to me by Charles Turner himself, bad grammar--a common failing with Mr. Thornbury (here printed in Italic)--included; and having run his pen through the rash assertion of the engraver, that he had offered to give a commission to Sir Thomas Lawrence, winds up simply with the remark, “I believe that Mr. C. Turner engraved this portrait.” Mr. Thornbury, perceiving in my statement of ten years ago that Mr. C. Turner intended to engrave it, assumes that he did engrave it. By happy accident, in no way, however, due to Mr. Thornbury’s research, he has hit the mark; for on the death of Charles Turner, about three years ago, the secret came to light, at the sale of his effects, as every _dilettanti_ knows, of his having engraved this portrait as long back, apparently, as twenty years before. What criticism, then, can be too strong to denounce Mr. Thornbury’s random assertion, “I _believe_ Mr. Charles Turner engraved this portrait”? A print from this plate, which it is suspected the sly engraver destroyed, may be seen at Mr. Graves’, the eminent publisher of Pall Mall.
My memoir of Turner, it may be added, was drawn up from vivâ voce information imparted to me by some of the great artist’s most intimate friends within three days of his decease,--Mr. Charles Turner, one of his executors, and Mr. Leslie, both of whom have since followed him to the grave; Mr. Windus, and others.
Speaking of dear old John Britton, the well-known author of many beautiful works of vast and original research on the Cathedrals of England--a man whose memory is cherished by every true-hearted antiquary with homage and respect--Mr. Thornbury says (vol. ii. p. 151)--“There is a story told of Turner’s love of concealment, which connects him with Britton, the publisher of so many architectural works; a plausible and, I fear, a very mean man; one of those bland, selfish squeezers of other men’s brains that still occasionally disgrace literature.” To whom should this scandalous observation be addressed? I trust that some new biographer of Turner will arise to board this piratical craft, and rescue the valuable freight which the painter’s bosom friends have committed to its keeping. It must be painful, indeed, to these gentlemen, to Mr. Trimmer, and to Mr. Ruskin especially, to find their precious reminiscences mixed up with such an unlettered commentary. How light the manner, how flippant the treatment, how utterly unworthy of a great subject!
LOVELL REEVE.
It may be as well to observe that Mr. Thornbury in no way spares other writers in _his_ criticisms: will any one, twenty years hence, quote Mr. Thornbury’s own words in regard to himself:--“Tawdry rubbish--now all but forgotten, and soon to sink deep in the mud-pool of oblivion.”
Mr. Thornbury’s preface is good--indeed, we believe he never writes anything badly, but it reminds us of Dr. Johnson, who wrote capital prefaces to works which, if he ever read, he never wrote. It is written in his richest style, redolent with word-painting: he uses adjectives in the happiest manner. Unfortunately this use of adjectives is apt to lead a writer from dry facts; and the above “Life” appears to have got him into a little trouble, for the details of which we must refer to the _Athenæum_, 1861, vol. ii, where Mr. Masson complains of Mr. Thornbury’s disrespect (p. 808), “Inventions about Turner,” from Mr. Henry M‘Connel (848)--“Turner and Girtin,” a refutation from Mr. W. H. Carpenter, Keeper of the Prints and Drawings at the British Museum; 1862, vol. i., p. 19--from Mr. John Pye, and (296, 331)--from Mr. Henry Elliot (G. Lewis, 334), all complaining.
A captious letter from Mr. Thornbury in the number for 22nd February, 1862, leaves him in a worse light than if he had been silent. We therefore omit it. He ends by saying that “no falsehood and no intentional plagiarism shall ever stain a single page I write,” which probably referred to the future, for “The Life of Turner” disproves these words.
Mr. Thornbury, amongst other works, has written “The Monarchs of the Main, 1855.” In the preface to this he claims at least “originality,” which seems to consist, according to his own account, in his having taken it, more or less, from three other works, without, as Professor De Morgan somewhere remarks, any evidence being left as to whether it is more or less. The same observations will apply to “British Artists, from Hogarth to Turner; being a series of Biographical Sketches, by W. T., &c., 1861,” which seems to be compiled almost entirely from (apparently) original sources.
THURSTON (Henry J.) _pseudonym_ [FRANCIS TURNER PALGRAVE].
The Passionate Pilgrim; or, Eros and Anteros. Lond., 1858.
TIM (Uncle). See Cladpole (Tim).
TIMON (John) _pseud._ [D. G. MITCHELL].
Preface to “The Lorgnette.” See An Opera Goer.
TINTO (Dick) _pseud._ [S. C. GOODRICH, jun., son of Peter Parley].
TITCOMB (Timothy) Esquire, _ps._ [Dr. J. G. HOLLAND].
Titcomb’s Letters to Young People, Single and Married. 12th edit., 1859.
Letters to the Joneses. 11th edit., New York, 1864.
TITMARSH (Michael Angelo) _pseud._ [WILLIAM MAKEPEACE THACKERAY].
The Paris Sketch Book, 1840. The Second Funeral of Napoleon, 1841. Mrs. Perkins’ Ball [1847]. Our Street, 1848. Doctor Birch, &c., 1849. Rebecca and Rowena, 1850. The Kickleburys on the Rhine, 1851 and 1866. The Rose and the King; or, the History of Prince Giglio and Prince Bulbo, 1st and 3rd edits., 1855.
TOBY (Simeon) _pseud._ [GEORGE TRASK].
Thoughts and Stories on Tobacco, for American Lads, or Uncle Toby’s Anti-Tobacco Advice to his Nephew, Billy Bruce. 5th edit., Boston, 1852.
TODHUNTER (Isaac).
Compiled an Algebra [first edition 1858, 2nd edit. 1860] admittedly a good one, but it appears from the following pamphlet, which accuses him of _plagiarism_, that it is not all his own book:--
An Exposure of a Recent Attempt at Bookmaking in the University of Cambridge. By T. Lund. Lond., _Spottiswoode_, 1858.
An Answer to Mr. Lund’s Attack on Mr. Todhunter. Cambridge, _Palmer_, 1858.
The copyright of Wood’s work having expired, it is public property, so far as law is concerned. Mr. Lund in his pamphlet proves that Mr. Todhunter has taken, without acknowledgment, what he had a legal right to take, to the extent of under one-thirtieth of his whole book.
Mr. Todhunter admits the charge, but defends his course on the ground that Wood is so well known that any use made of him would at once be recognised, that the omission was out of consideration for Mr. Lund.
But, as the writer in the _Athenæum_, from whence we take this note (1858, ii. 81, 110), observes, a person already in possession of Wood, and wishes to have another author, would be grossly deceived if he bought the same under another name: he adds that there is a very lax view of such things taken at Cambridge, and instances a case, but, we regret to say, gives no names.
TOMKINS (Isaac) Gent., _ps._ [Lord BROUGHAM?]
Thoughts on the Aristocracy of England, with a postscript and a letter to J. Richards, Esq., from P. Jenkins. 1st and 5th editions. Lond., Hooper, 1834; 23 pp.
See Edin. Rev., April 1835, p. 65.
A Letter to Isaac Tomkins, Gent., author of the Thoughts on the Aristocracy. With a postscript and a letter to J. Richards, Esq., M.P., from Mr. P. Jenkins. 5th edition, Lond., 1835; 11 pp.
The pamphlet upon “The Aristocracy of England” is announced as the first of a series.... The publisher is one of the regular agents for that _system_ of societies, of which the eldest assumed the title of “The Society for the Diffusion of Useful Knowledge,” and the latest has not feared to proclaim itself “The Society for the Diffusion of _Political_ Knowledge.” The founder and president of all these ultra-philanthropic societies is Henry Lord Brougham and Vaux; and common report has ascribed to his lordship’s versatile pen the pages which his lordship’s agent, Mr. Hooper, has just published as the production of “Isaac Tomkins, Gentleman.”
We have, from internal evidence, no sort of doubt that the public report is in this instance correct.--Quarterly Review, liii. 540.
A Letter to Isaac Tomkins (against Lord Brougham). By Peter Wilkins [_pseud._]. Lond., 1839.
TOUCH’EM (Timothy) _phren._ [THOMAS BECK].
The Age of Frivolity. A poem. 2nd edit., Lond., 1807.
TOUCHSTONE, _phren._ [M. BOOTH].
Roadside Sketches in the South of France, with 24 illustrations by ----. Lond., 1859.
TREBOR (Eidrah) _anastroph_ [ROBERT HARDIE].
Hoyle made Familiar. Edin., 1830.
TRUCK (Bill) _pseud._ [ ].
Man-o’-War’s Man. Lond., _Blackwood_, 1843.
In Blackwood’s Magazine, 1822, signed S.
TRUSTA (H.) _phren._ [Mrs. ELIZABETH STUART PHELPS].
The Tell-Tale; or Sketches of Domestic Life in the United States. By H. T. and Grace Greenwood [_ps._], 1852.
A Peep at “Number Five.” _Boston, U.S._, 1852.
The Tell-Tale; or Home Secrets told by Old Travellers. Boston, 1853.
And several others.
TWO BROTHERS, _demonym_ [ALFRED and CHARLES TENNYSON].
Poems. Lond., _Simpkin_, 1832.
N. & Q. 3 S. ix. iii.
TWO BROTHERS, _demonym_ [JULIUS CHARLES HARE and AUGUSTUS WILLIAM HARE].
Guesses at Truth. Lond., 1847; _Macmillan_, 1866.
TWO BROTHERS, _demonym_ [A. MONEY and GEORGE HENRY MONEY].
Sevastopol: our Tent in the Crimea. Lond., 1856.
U.
URBAN (Sylvanus) _pseudonym_ under which, for upwards of one hundred years, the Gentleman’s Magazine has been edited. It contains an enormous mass of biography (and _fiction_) in its very useful obituary notices. The Rev. Edward Walford is its present editor.
“In the summer of 1825 I had apartments in the Rue Verte, Brussells. My _locataire_ was a Monsieur _Urbain_; and his not very youthful daughter took much pride in telling me of their lineal descent from an Englishman of that name--a distinguished writer, she said, in prose and in verse. Seeing me somewhat at a loss to identify this ancestor of her’s, she further informed me that his prænomen was _Sylvain_. I of course recognised our old acquaintance of St. John’s Gate, and delighted Mademoiselle with the assurance that her great-grandfather’s names, as well as his talents, had been transmitted through his descendants to that day.”--E. L. S. in _N. & Q._
V.
VALDARFER (Cristofer) _ps._ [JOSEPH HASLEWOOD].
Bibliomaniac Ballad. [Lond., 1815?]
VAN DEUSEN (Increase) and MARIA, his Wife, _ps._ [ ].
Spiritual Delusions, being a Key to the Mysteries of Mormonism, exposing the particulars of that astounding Heresy, the spiritual wife system. New York, 1854.
V. B. _init._ [Vincent Brooks].
A skilled chromo-lithographer, who generally signs these initials. The drawing and colouring of some of his pictures in Cinderella and other children’s books published by Mr. Routledge is very good indeed.
VERDELLO (Cordrac) _phrenonym_ [RICHARD HARRIS].
The English Press and its Poets, a satire. Lond., printed by Charles Whittingham, 1856.
VINDEX, _phrenonym_ [ ].
Considerations on the Policy, Justice, and Consequences of the Dutch War. Lond., _Effingham Wilson_, 1832.
Vindex is a well-known public character. He was the colleague of “Civis” during the greater part of the American war, and afterwards joined with “Politicus” in opposing the French Revolution.--_Edin. Rev._ Jan. 1833.
VINDEX. See the Author of the Eclipse of Faith [HENRY ROGERS].
W.
W. A. C. _initialism_ [CHATTO].
Views of Ports and Harbours, Watering Places, Fishing Villages.... Lond., 1838.
WALFORD (Flora) _pseud._ [G. W. BESSEY?]
Sketches from Flemish Life. Lond., 1843.
WALNEERG, _ananym_ [THOMAS KNOX].
Rhymed Convictions in Song, &c. Lond. and Edin. [1852].
The ananym of the author’s birthplace, Greenlaw.
W. and R. C. _init._ [CHAMBERS].
Shipwrecks and Tales of the Sea. Edited by ----. Lond., 1860.
Tales for Home Reading [1865].
Tales for Young and Old, 1865.
WARD (Artemus) _pseudonym_ [CHARLES F. BROWNE, an American author of English birth. He returned to England, and died here in 1867, when nothing was wanting to his fame but himself. The style of the following work, the one chiefly known in England, is inimitable.]
Artemus Ward, His Book of Goaks. _J. C. Hotten_, 1865.
Travels among the Mormons, edited by E. P. Hingston, 1865.
Artemus Ward in London, a New Comic Book. New York, 1867.
WARD (Betsy Jane) _allonym_ [ ].
Betsy J. Ward, Her Book of Goaks [Better half to Artemus] (_sic_). Lond., _Routledge_, 1867.
WARDEN (William), Surgeon on Board the Northumberland.
Letters written on Board His Majesty’s Ship the Northumberland, and at St. Helena, in which the conduct and conversations of Napoleon Bonaparte and his suite during the voyage, and the first months of his residence in that island, are faithfully described and related. By ----. Lond., published for the Author [1816]. 8vo.
Cursory Remarks on the Article in the Edinburgh Review relative to Mr. Warden’s Letters from St. Helena [Lond?], 1817. Signed “Waterloo.”
“... That which is best known in England are the letters of Mr. Warden, who has been made (we will not say the innocent, but) the ignorant tool of the cabal. Our readers will recollect that in our review of this man’s work [xvi. 208] we ventured to assert--1st, _that no such letters were ever written_; and 2d, that Mr. Warden only brought home with him certain notes of conversations with Buonaparte and his followers of which the tone and substance were made to fit, not the truth of the facts, but the object which Buonaparte had to accomplish.
“These suspicions have been fully realized.--Mr. Warden, though he affects in an advertisement to a new edition of his work to take notice of our animadversions, does not venture to affirm that such letters ever were written. He confesses indeed that he employed a literary man to correct his work, but alleges that this person added nothing of his own: but we repeat it, he does not and he cannot deny that the character of letters _written from_ St. Helena, which was intended to give authority to and to vouch for the authenticity of his work, is false, and that the whole foundation and substance of his apology for Buonaparte (for such it is) was information given him by that person and his followers, and _given by them for the purpose of publication_.